Sparky Mark

I justify my "collection" (to myself) as before too much longer it will be used to part fund my retirement.

Thanks, I'd missed the earlier reference. Membership pending.

How do we track "HW" down?

It looks great! I want one...

Isn't that the one at Andy Baxter's for nearly £10k?

752

I didn't know either! Had to write them down; 25 basses with one more on order, 1 six string classical, 1 six string acoustic. As this seems a bit excessive I'm definitely considering shifting one of the 6 strings.

And I've just received some Hercules wall hangers from Dan, superbly packed in excellent condition at a great price with fast delivery. Another thank you Dan.

Except the OBC115 doesn't have a tweeter

The 400 watts isn't an indication of the aural output of the cab, it's the speaker's maximum thermal disippation. So as Bill says above, once your amp is outputting around 100 watts to the cab, more watts will just generate more heat within the speaker's voice coil, not make it louder. 200 watts into two single 15 cabs is a very capable live rig. I.e., the Orange AD200B into two OBC115 cabs (and it's got nothing to do with valve watts). I would go for a 500 watt amp if I intended to use one or two 410 cabs at high volume as that would deliver around 60 to 75 watts per driver, which feels about right. (I wonder if anyone has ever really driven 500 watts continuously into a Barefaced One10?)

Decreasing the lo mid control reduces boxiness on Markbass amps; try that first to various degrees, it may get you into the warm sound without boom the band is used to. The CMD121P on its own might work too, adding the NY121P cab increases the low end output a lot which might be too much if the band were used to a 210 combo? I've found that sometimes small amps being driven moderately sound better that more powerful systems barely breaking sweat.

Ah, I see. I assumed that Promoters earned their fee by approaching Booking Agents, not that they were one and the same entity.

I'm guessing that Promoters see there job as promiting artists to venues and getting gigs whilst it's the artist's job to promote the actual gigs to punters. Fair enough?

I'm thankful that music has always been a hobby for me. There aren't many hobbies where you can meet up with some mates, have a few hours fun and end up with more money in your pocket than you started with. However, as a matter of principle, other than those for worthy causes, I choose not to play unpaid gigs.

Because, I'd prefer to retire to somewhere a little more rural than within the M25. I was born 60 years ago in North London, grew up in West London, studied in Central London and now have property in South London. Cities are great but I would just like to hear about other options for my twilight years. Oh, and property in London is too expensive for what you get IMO, IME, etc, etc.

I have had contact with a couple of timewasters on here but you can usually suss them out pretty quickly through their first couple of messages. Thankfully they are few and far between and not scammers as far as I could tell. Thinking a bit more about it, I've wasted a few people's time by having second thoughts and withdrawing a couple of items in the past; apologies. I'll get my coat!

I'll never use PayPal for any "private" transaction. I'm sure 90% of the time it'd be fine but I've read of so many dodgy disputes that I pay and ask for cash or bank transfer to minimise the risk. I've never sold anything other than through Basschat because we kinda know who we're dealing with on here.